# Modulaire Maritime — Phosgène Wavetable FM Oscillator - [Manual PDF](../../manuals/Phosgène _ Modulaire Maritime.pdf) --- [Manual PDF / source page](https://www.modulaire-maritime.com/phosgène) # Modulaire Maritime Phosgène — patch ideas and creative uses Phosgène looks like a **2hp digital wavetable/FM oscillator** with a pretty unusual character: - **60 wavetables** in **2 banks of 30** - **Two parallel sound paths / outputs**: - **Waveshaping / folded wavetable output** - **FM output** - **Shared controls** influence both paths differently - **External CV** can push wave/folding/FM behavior further - **100 Hz FM base** for a darker, tighter, less splashy FM spectrum - **Tracks 1V/oct across 8 octaves** - **Octave up/down switch** - **Octave displace function** for shifting wavetable range lower while leaving FM range intact - **11-bit-ish lower-resolution digital tone**, with aliasing/noise as part of the flavor - **Saves last settings** after power cycle This tells me Phosgène is not just a “small oscillator,” but really a **compact digital character source** that can cover: - basses - metallic tones - dirty leads - industrial percussion - dual-layered timbres from its separate outputs - CV-reactive digital textures Below are the most interesting ways I’d use it in a Eurorack system. --- ## 1. Treat it as a **dual personality oscillator** Because it offers separate wavetable/folded and FM outputs, the first creative move is to **never think of it as one voice**. ### Patch idea - Send the **wavetable output** to a **low-pass filter** - Send the **FM output** to a **wavefolder, LPG, or band-pass filter** - Pan them left/right in a stereo mixer - Modulate wave selection and FM depth with two related but different modulation sources ### Why it works You get one coherent pitch source but two very different timbral interpretations: - one side can be the “body” - the other side can be the “grit,” “air,” or “machine noise” ### Great companions - **Stereo mixer / panner**: Happy Nerding PanMix, Worng SoundStage, Befaco STMix - **Dual filter**: Bastl Ikarie, Make Noise QPAS, Frap Fumana if you want spectral madness - **LPG / dynamics**: Make Noise Optomix, Takaab LPG, Doepfer A-101-2 --- ## 2. Build a **bass voice that stays dark and solid** The manual specifically mentions the FM implementation is based around **100 Hz**, making it ideal for **tight FM basses** and **deep modulation**. That suggests Phosgène can do bass without the brittle upper-mid splash many digital FM voices get. ### Patch idea - Sequence 1V/oct into Phosgène - Use the **FM output** as your main oscillator - Send it into a **clean VCA** - Add a **snappy envelope** to amplitude - Use a **slow envelope or offset CV** to animate wave/folding controls subtly - Layer the **wavetable output** one octave lower or with octave displacement engaged ### Why it works The FM side gives punch and harmonic focus, while the lower-displaced wavetable side can add weight. ### Great companions - **Envelope**: Intellijel Dual ADSR, Zadar, Quadrax - **VCA**: Veils, Tallin, Quad VCA - **Bass-friendly filter**: AJH MiniMod VCF, Doepfer SEM, Joranalogue Filter 8 - **Saturation**: Instruō tanh[3], Ritual Guillotine, Endorphin.es Golden Master for final polish --- ## 3. Use the **octave displace** feature as a sound-design tool, not just pitch management This is one of the coolest features described. It seems meant to keep the wavetable engine in a lower, more usable range while preserving full FM range. ### Creative use Instead of thinking “this just prevents harshness,” use it to create **split-register timbres**: - wavetable output stays low, thick, and dirty - FM output remains high, articulate, and bright - both are tracking the same melody ### Patch idea - Mult your pitch CV to Phosgène and another oscillator - Use Phosgène’s **wavetable output** with octave displace on as a sub/undertone - Use another analog VCO or the **FM output** for the top layer - Mix to taste ### Great companions - **Analog VCO pairing**: Dixie II+, STO, Ts-L, A-110-1 - **Subharmonic enhancers**: Joranalogue Fold 6, analog saturation, resonant filter ping layer This creates a “one module does low digital filth, another does stable top-end” hybrid voice. --- ## 4. Exploit the **11-bit / aliasing / noisy wavetable character** The manual explicitly celebrates the “digital trash.” That means you should lean into it rather than trying to sterilize it. ### Patch idea: “broken sampler” lead - Use the wavetable output - Add moderate wave/fold CV from a stepped random source - Send into a **high-pass filter** - Add **short digital delay** or **clocked delay** - Reverb after that ### Result You get a lead that feels like: - degraded ROMpler - busted game-console synth - early sampler wavetable edge ### Great companions - **Stepped random / S&H**: Mutable Kinks, Wogglebug, Doepfer A-148, SSF Ultra-Random Analog - **Clocked delay**: Mimeophon, Chronoblob 2, Erica Pico DSP - **Bit/phase/digital FX**: Data Bender, FX Aid, Timiszoara, MFX --- ## 5. Turn it into an **industrial percussion source** Phosgène’s harsh digital partials, noise-containing tables, and FM path make it ideal for non-traditional drum synthesis. ### Patch idea: kick/metal hybrid - Sequence very short pitches or trigger envelopes into pitch modulation - Use the **FM output** for the body - Use the **wavetable output** through a VCA for the attack/noise layer - Envelope the noise layer with an extremely short decay - Add distortion and compression ### Patch idea: hi-hats / clanks - Tune Phosgène high - Modulate wave selection with random voltages - Gate with a short decay envelope - Run through band-pass filtering or LPG - Optional: ring mod with another oscillator or noise source ### Great companions - **Percussion envelopes**: Quadrax, Pingable Envelope Generator, Delta-V - **Distortion**: Noise Engineering Ruina series, Bastl Dark Matter, Ritual Miasma - **Compressor**: WMD MSCL, Cosmotronic Messor, Endorphin.es Cockpit 2 sidechain tricks --- ## 6. Pair it with a **resonator or physical modeling module** The slightly crude digital tone can become very alive when used as an exciter rather than the final voice. ### Patch idea - Send one of Phosgène’s outputs into: - a resonator - Karplus-Strong input path - modal filter bank - Use bursts or short envelopes instead of sustained notes - Modulate wave selection every few triggers ### Great companions - **Resonator / physical modeling**: Mutable Rings, 2hp Pluck, Tubbutec/4ms resonant options, Schlappi Three Body used resonantly - **Karplus tools**: delay line with short feedback, Mimeophon zones, Chronoblob, Sarajewo - **Exciter helpers**: LPGs, burst generators, trigger sequencers ### Why it works Phosgène’s edgy harmonics and aliasing give resonators a more complex excitation signal than a simple sine or noise burst. --- ## 7. Use it as a **modulator**, not only an audio oscillator Because it tracks well and has controllable digital shape changes, Phosgène can be a fantastic **audio-rate modulation source** for other modules. ### Patch idea - Use the **FM output** to frequency-modulate another oscillator - Use the **wavetable output** to phase-modulate a digital oscillator or filter cutoff FM - Sequence both oscillators harmonically ### Excellent targets - Through-zero FM oscillators - Filters with good FM response - Delay time CV - Wavefolders - PLL modules ### Great companions - **Oscillators for cross-mod**: Generate 3, Furthrrrr Generator, Cs-L, Brenso, Neoni - **Filters that like audio-rate FM**: Filter 8, Belgrad, Ikarie, Three Sisters - **PLL / logic weirdness**: Doepfer A-196, Joranalogue Compare 2, logic modules ### Result Phosgène can inject “digital chewiness” into otherwise smooth analog modules. --- ## 8. Crossfade the two outputs for **morphing articulation** Since there are two sonic interpretations available, voltage-controlled crossfading is an obvious and very musical move. ### Patch idea - Send both outputs into a **VC crossfader** - Use: - an envelope for plucked transitions - an LFO for evolving drones - velocity or aftertouch from your controller for expressive morphing ### Great companions - **VC crossfader**: Doepfer A-134-2, Happy Nerding Xfade, Joranalogue Morph 4 - **Performance control**: Tetrapad/Tête, Pressure Points, Planar 2, 0-CTRL ### Why it works You can perform between: - stable-ish wavetable tone - rougher FM articulation - or vice versa depending on the patch It gives the voice a macro “gesture” control. --- ## 9. Make it the center of a **small 2hp/compact skiff voice** Since it’s only 2hp, it begs to be part of a very tiny but high-impact voice chain. ### Minimal voice recipe - **Phosgène** - **Envelope/LFO** - **VCA** - **Filter or LPG** - **Multi-FX** - **Compact sequencer** ### Suggested compact ecosystem - 2hp EG / VCA / MMF / Verb / Delay - ALM Pip Slope / Pip Filter / MFX - Happy Nerding 3xVCA + FX Aid - Xaoc Sewastopol or Tallin for extra gain and drive ### Result A tiny skiff with one tiny oscillator can still make: - dark techno basslines - acid-adjacent sequences - industrial bleeps - cinematic drones --- ## 10. Use slow CV on **wave selection** for quasi-granular movement Even without true wavetable interpolation details in the text, stepped or slewed modulation through wave indices can create a pseudo-scan effect. ### Patch idea - Feed a **very slow random voltage** into wave select - Use a **slew limiter** if needed - Keep pitch static or drone-based - Process through reverb and stereo delay ### Great companions - **Random / chaos**: Triple Sloths, Marbles, Wogglebug, Orbit 3 - **Slew**: Doepfer A-170, Joranalogue Contour 1, Maths - **Spatial FX**: Mimeophon, Nautilus, Desmodus Versio, Beads ### Result A living digital drone that moves between “machine hum,” “radio ghosts,” and “corroded glass harmonics.” --- ## 11. Patch it into a **wavefolder anyway** Even though it already contains waveshaping/folding behavior, external folding on digital waveforms often produces a very different result than internal shaping. ### Patch idea - Use the wavetable output into an analog wavefolder - Modulate folder symmetry/fold amount with envelopes and audio-rate LFOs - Compare with the FM output processed separately ### Great companions - **Wavefolders**: Intellijel Bifold, Joranalogue Fold 6, Serge-style folder, Bastl Timber - **Mod source**: another oscillator, cycling envelope, random burst ### Why it works Digital source + analog nonlinear processing = excellent contrast. Phosgène supplies stepped/aliased complexity; the external folder adds continuous analog instability. --- ## 12. Build a **drone voice with parallel signal processing** This module seems especially strong when split into multiple processing lanes. ### Patch idea - Wavetable output → low-pass gate → spring reverb - FM output → resonant band-pass filter → distortion → delay - Mix both at different levels - Modulate wave and FM depth with unrelated slow CVs ### Great companions - **Spring / character reverb**: Doepfer A-199, Knas Ekdahl Moisturizer (if external), FX Aid spring emulations - **Band-pass filter**: Three Sisters, Ikarie, QPAS - **Slow modulators**: Batumi, Ochd, Just Friends, Maestro ### Result Huge dark drones with an “engine room / submarine / abandoned factory” character. --- ## 13. Pair it with **sequenced CV offsets and precision utilities** Because the manual emphasizes octave range management and careful timbral positioning, precision utilities will be especially rewarding. ### Patch idea - Use a **precision adder** for octave jumps - Use a **CV offset/attenuator** to place the wave/FM sweet spot exactly - Trigger switches to jump between banks or octave settings in performance ### Great companions - **Precision / utility**: Ornament & Crime, Doepfer A-185-2, Frap 321, Happy Nerding 3xMIA - **Sequential switching**: Doepfer A-151, Vice Virga, Switch 4 ### Why it matters Digital oscillators with lots of sweet spots benefit massively from: - attenuating modulation - offsetting it into “musical” zones - recalling repeatable intervals --- ## 14. Clocked sample-and-hold on timbre controls for **machine speech / robotic melody** Digital wavetable modules often sound amazing when timbre changes are rhythmically quantized. ### Patch idea - Send a synced clock to sample-and-hold - Feed S&H with noise, random, or another slow oscillator - Patch that into wave selection or modulation depth - Sequence pitch normally ### Great companions - **S&H**: A-148, Kinks, Select 2, Sapèl - **Clock source**: Pam’s Pro Workout, Tempi, Workout-style modules - **Quantizer for melodic certainty**: Scales, O_C, Bard Quartet ### Result Every note can have a different “phoneme,” producing robotic lines that feel speech-like. --- ## 15. Process it through **formant or spectral modules** Phosgène’s bright, irregular harmonics are ideal fodder for spectral animation. ### Patch idea - Wavetable output into a **formant filter** or **fixed filter bank** - FM output direct or through VCA - Animate filter bands with envelopes or LFOs - Tune oscillator low and let filtering define the apparent motion ### Great companions - **Filter banks / spectral**: Bark Filter, Fumana, fixed filter banks, Serge Resonant EQ - **Formant processing**: Rossum Morpheus, Xaoc Koszalin for weird enhancement, spectral EQ modules ### Result Industrial choir, radio voices, dystopian pads. --- ## 16. Use it as a **dirty clockable texture source** for granular or looper modules Instead of “playing” it conventionally, record snippets and repitch/process them elsewhere. ### Patch idea - Run Phosgène through changing CV states - Sample short phrases into: - granular processor - looping delay - sampler - Then repitch, reverse, freeze, and resequence ### Great companions - **Granular / buffer**: Arbhar, Beads, Morphagene, Nebulae - **Sampler**: Assimil8or, Bitbox, Radio Music-style playback tools - **Looper**: Lubadh, Magneto, Morphagene ### Why it works Its tone is already rich and unstable, so even tiny captured fragments remain interesting after transformation. --- ## 17. Pair it with **comparators, logic, and envelope followers** for control extraction A digital oscillator with sharp transitions can be useful as a source of control logic too. ### Patch idea - Send an audio output into a **comparator** - Derive gates based on waveform crossings - Use those gates to trigger envelopes elsewhere - Or use an **envelope follower** on one output to animate processing on the other ### Great companions - **Comparator / logic**: Joranalogue Compare 2, Doepfer logic modules, Klavis Two Bits - **Envelope follower**: Sewastopol, Detect-Rx, Mutable Ears, A-119 ### Result Self-derived rhythms and feedback ecosystems where Phosgène partly controls its own processing. --- ## 18. Patch ideas by genre ## Dark techno - FM output as bass voice - Wavetable output layered quietly for grit - Saturation + low-pass filter - Modulate wave select every 8 or 16 bars with stepped random - Add sidechain compression from kick ## Industrial / EBM - High-register wavetable output into distortion - FM output for metallic transient layer - Triggered sample-and-hold on timbre - Band-pass filtering and mono delay ## Ambient / sci-fi - Slow random on wave select - Octave-displaced wavetable for lower drone bed - FM output through resonator and long reverb - Manual crossfading between paths ## Electro / IDM - Use Phosgène for percussion and bass alternately - Audio-rate modulate filter cutoff - Sample slices into a sampler - Sequence octave jumps with precision adder --- ## A few especially strong pairing recommendations ## If you want it to sound bigger - **Filter:** Bastl Ikarie or Joranalogue Filter 8 - **VCA/mixer:** Veils or Happy Nerding 3xVCA - **FX:** FX Aid XL or Mimeophon ## If you want industrial destruction - **Distortion:** Noise Engineering Ruina Versio / Terci Ruina - **Dynamics:** Messor or MSCL - **Random:** Ultra-Random Analog or Wogglebug ## If you want experimental timbre motion - **Modulation:** Batumi, Ochd, Triple Sloths - **Crossfader:** Morph 4 or Planar 2 - **Resonator:** Rings or a resonant filter bank ## If you want a tiny but serious voice - **Envelope:** Pip Slope / Zadar - **VCA:** Tallin / 2hp VCA - **Filter:** 2hp MMF / Ikarie - **FX:** MFX / FX Aid --- ## Best practical advice for patching Phosgène 1. **Use both outputs whenever possible** That’s where a lot of its uniqueness probably lives. 2. **Attenuate CV heavily** Small digital modules often have narrow sweet spots. 3. **Use octave displacement musically** It’s not just a corrective feature; it’s a voicing feature. 4. **Let aliasing be part of the patch** Don’t over-filter too early. 5. **Try it as a modulation source** Especially into filters and analog oscillators. 6. **Pair it with analog processors** Filters, VCAs, wavefolders, LPGs, and saturation can make the digital core feel much larger and more dimensional. --- ## Quick starter patch recipes ### 1. Brutal bass - Pitch seq → Phosgène - FM out → VCA → LPF - Env → VCA - Slow LFO → wave/mod input - Wavetable out mixed quietly underneath ### 2. Machine drone - Static pitch or very slow sequence - Wavetable out → LPG → reverb - FM out → distortion → delay - Two unsynced slow LFOs on wave/fold controls ### 3. Metallic percussion - Trigger envelope to VCA - FM out → band-pass filter - Fast decay envelope to pitch for transient - Random stepped CV to wave select ### 4. Glitch lead - Wavetable out → HPF → delay → reverb - Clocked sample-and-hold to wave select - Short envelope to VCA - Manual crossfade with FM out for accents --- [Generated With Eurorack Processor](https://github.com/nstarke/eurorack-processor)